Saputello

I’ll be quick and I haven’t read most of the comments because you’re too stingy with the discussions. @ No fake: look, I don’t really care about Christ; Christ is just one of the many excuses to make art, a noble excuse, but still an excuse. What interests me is the work, not the fact that you explain the truth to me. @ Randolph: I get it, you’re right, and you’ve revealed a side I had never noticed in this genius_talent comparison.

Chuck Berry is just a fucking asshole. It was clearly evident that he hadn’t prepared a damn thing. The local band plays his songs better. As for the rest, the failure of Italian music, aside from Afterhours. Not even Mauro Pagani saves himself. Everyone performed and sang poorly. Shameful.

@ Randolph: I am interested in this perspective on the difference and incompatibility between talent and genius: but why do you think one excludes the other? Can't genius be the result of great talent? Do you mean by talent the inclination mixed with effort, and therefore achieving results solely due to this, while for genius, it's the uncontrolled intuition that doesn't come from effort but from the unconscious? Is that it? Anyway, only on debaser is there the courage to compare Pasolini's film with Zeffirelli or (even worse) Mel Gibson. What courage. In fact, what stupidity. Your comparisons reveal an extreme superficiality; you like the comparison only because all these films talk about Christ, when in reality they are light-years apart, even thematically. I don't know how you do it. Zeffirelli, by the way... I would see him better directing an episode of Beautiful than a film about Christ.

I know it may seem obvious, but every time a character like Rostropovich dies, I wonder if there's anyone who can truly take their place in greatness. It's incredible how musicians like these enter into total symbiosis with their instrument and can do whatever they want with it, with spontaneity, without apparent effort, and with an extraordinary emotional intensity conveyed to the listener.

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Beautiful, you were amazing, you moved me. I played the cello, but I distanced myself from it because I was discouraged for various reasons. However, I don't agree with you when you say that the cello is the most fragile voice among all instruments (or maybe I didn't understand what you meant). For me, there is no voice that is simultaneously stronger and more similar to the human one; it doesn't seem to me that it has a fragile timbre at all. I have a lot to say about the suites, the first being that they are often underestimated in the repertoire of the immense Bach, if not by those connected to the instrument. And then in some passages they present a stunning modernity, in my opinion more than in any other composition I've ever heard by Bach.

Certo! Inviami il testo che desideri tradurre e provvederò a farlo.

Delicious review among your best perhaps. I never dug into Patty Smith, because every time I was about to start listening to her, something happened, like I put the record in the player and the record player exploded, or a naked girl would come in saying she needed my help, or that time I was finally focused and after two seconds of the first song someone came to tell me that the twin towers had collapsed like Filippo Inzaghi in the penalty area. Well, I just wanted to say that I don't like it.